The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022

The figure of the Madonna with a Radiant Crown from 1438 is extraordinary in every respect It stands on the first northern pillar of the east choir, and is the only figure diagonal to the axis of the church. It is not only its special position that draws attention, but also its expressiveness. An unknown Nuremberg artist carved it from pear wood and painted it richly with gold. Two angels place the crown on Mary's head, two others carry her to heaven on a crescent moon. Rays surround her and the baby Jesus, as if she were clothed with the sun, as John says in a vision of Revelation 12. Remnants of the wings of the shrine that used to surround her for most of the year are still in the Germanisches Nationalmuseum. (Text source: https://sebalduskirche.de/strahlenkranzmadonna/) __________________ The donor was Katharina Deichsler, née Zenner, a rich widow who generously invested her extensive fortune in pious foundations. She died on October 16, 1438, and the sculpture was apparently created as a testamentary donation shortly after her death. (...) As early as October 1, 1450, the Nuremberg citizen Jorg Vorster specified in his will "a hundred guilders for the Maria pilde to St. Sebolt on the Sewl next to St. John's altar, so that one could go and collect and gild according to the most beautiful" (Quoted from Monumenta Boica 1823, p. 63. See also Weilandt 2007, p. 683) The painted shrine panels for the canopy shrine of the Madonna with the Radiant Crown were made by Hans von Kulmbach (1519); they were removed again in the 19th century. Lit.: TO NEW DIMENSIONS. The works of Hans von Kulmbach for the Nuremberg Sebaldus Church Gerhard Weiland in: Renaissance in Franconia. Hans von Kulmbach and the art of Dürer, edited by Manuel Teget-Welz and Hans Dickel, Michael Imhof Verlag, Petersberg, 2022